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3 Fundamental Spectrums in Mixing
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Nomad Moon
IsraTrance Full Member
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134
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1516
Posted : Jan 10, 2014 13:24
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Quote:
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On 2014-01-10 10:39, TranceAphobic wrote:
Rework:
Thanks man, I feel sharing ideas is the way of the future. To help one another end the struggle. O, and you too.
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This is a post that should be a sticker, and it's what this is supposed to be all about in a forum such as this. Sharing knowledge
  Tudo que é melhor e mais superior em mim saúda tudo que é melhor e mais alto em si |
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klippel
Stereofeld
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91
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1153
Posted : Jan 10, 2014 19:33
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Ancient Alien
IsraTrance Full Member
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52
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269
Posted : Jan 10, 2014 22:53
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On 2014-01-09 17:19, Nomad Moon wrote:
played yesterday with those panning settings, must say i got very good results, still need to figure out the levels, but liked it very much
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i did the same with good results too....i must say im not a fan of panning alot, i like every sounds on both ears, but im starting to learn it and see that is very good like the L1 kick and R1 Bass...
great post, simple, direct and objective
https://soundcloud.com/ancientaliengoa
Goa for life |
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Flowertz
Flowertz
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4
Posts :
10
Posted : Jan 11, 2014 01:50
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ok great post, all theory makes a lot of sense..thanks for sharing...I promise myself to try it, it's a bit different way of working specially the part where all sounds are mono and are doubled, I usually play a lot with panning and stereo with my synth, but guys please share all your tunes so we can listen
https://soundcloud.com/flowertz |
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SoundChemist
Started Topics :
0
Posts :
4
Posted : Jan 12, 2014 11:48
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Hi!
I followed your concept for my last track. It needed something...
And it worked pretty well!
As i let the last version on my soundcloud you can compare.
https://soundcloud.com/soundchemistery
Comments are welcome!
Cheers  |
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TranceAphobic
Started Topics :
7
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29
Posted : Jan 15, 2014 11:46
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Thanks for everyone’s replies. It’s good to hear feedback on any progress going on out there. This whole process, as some of you may have noticed, is merely a pattern I wanted people to realize. The originality and creativity I left to you as the composer/producer. The pattern is all about- everything being different, thus harmonizing together as one- giving space/respect to each other.
Now that some of you played around with the basics, let’s move on to the next level on the Panning side.
Creative panning:
With creative panning you can really open up the virtual room within the speakers. A few years back I was walking through the forest on an outing, when I started to concentrate on all the sounds of nature around me. The one thing I will never forget was the sound of the crickets. Together they formed a stereo bow that ran from the right side to the left in the open air (and repeating).
Felt hypnotized/overwhelmed by their song. I instantly fell in love with the effect and wanted to incorporate it into my music.
So.. started to analyze what I heard and tried to figure out how to re-create this wonderful effect. It ended with creative panning in Mono form.
i.e. Started from scratch and designed a Lead. The lead consists of 3 different Arp sounds. In a 4 bar loop, the first sound takes up 2 bars, the second takes the 3rd bar and third fills the 4th bar. Each sound stops when the other begins, so nothing plays at the same time. The First I panned to 30%L, the Second @ 10%R and the Third @ 50%R (in mono).
Then I created a Panning automation clip for each sound, only automating when that sound is active. So under the 4 bar loop you will have 3 automation clips next to each other. With everyone having a set location there is only one more thing to do…. connecting the start and end points.
i.e. The First goes, via automation, from 30%L to 40%L and ends @ 10%R. Then the second goes from 10%R to 50%R and the third starts @ 50%R, goes to 100%R and ends @ 30%L, where the lead repeats again. This means that all 3 Arp sounds are now connected through panning in a structured form. By having all 3 in Mono the movement is clear cut. It gave an almost 3D form of the Lead running across the speakers and back to the start point of the first, as if I was drawing a picture of something that the sounds created in my mind’s eye.
I loved the idea so much that I started to automate everything in the track, addicted to the movement within the stereo spectrum.
The Perc Loops (hihats,snare,hats,etc) has a somewhat planetary rotational field. Going from 0% Center to 20%L and back again within a 4-8 beat loop.
As the kick and bass hammers in the Center it almost sounds like it steps on the Perc Loop and shoots it out to the left …Due to all that insane bass power, haha. The loop returns slowly to the center, where the kick steps on him again and shoots it back to the left. All this movement in the track clearly started to give a story line and I just can’t get enough of it.
Note that the panning should still be structured. Randomizing the movement will not give soothing results, so it does require some planning first.
I am thinking of automating the kick and bass also. Lets say…. In a 4 beat loop- we have 4 kicks to create small movement. i.e First kick @ 3%L, Second kick @ 2%L, Third kick @ 1%L and Fourth kick @ 0% center and doing the same with the bass-line, but on the right side. Now you get this movement where the kick and bass is sucked to the center within every 4 beats.
Any movement within the music really opens up your imagination and makes the track more fun to listen to. *Also by having all sounds in Mono, it keeps the track Mono compatible- while the movement opens up the track when played in Stereo.
Play around with different methods and I am sure you will find your own awesome way of doing this.
Hope this gave you a new view point to explore..
Enjoy
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moleqlarsuperstructure
IsraTrance Junior Member
Started Topics :
36
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265
Posted : Jan 16, 2014 16:44
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fruitopia
Started Topics :
1
Posts :
418
Posted : Jan 19, 2014 11:58
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thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you ! |
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TranceAphobic
Started Topics :
7
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29
Posted : Jan 23, 2014 10:31
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Hi guys, I hope everybody out there is having a blast and enjoying life.
I would like to add something to the thread, even though it’s only a reference point.
Each mix will be different and will have its own levels, curves, adjustments, etc. However you get some template advice that you can use as a starting point to achieve a nice balance in volume levels. Music tends to play with our ears a lot and can cause us to make the wrong decisions. Your experience with all the effects, reverb, EQ, etc. will also determine how fast you will progress and how correctly all your decisions will be. I started out with music production being very ignorant. Did not even mix my stuff back then, not even placed one EQ on anything. And still it turned out sounding pretty nice @ high volumes.
That is one of the points here. Try to compose a track that has a natural frequency balance before any EQ is done.
i.e. Say you have two leads, both having their fundamentals between 200hz – 1Khz. Don’t go forcing the one with an Equalizer to take the 1-5Khz area. Trust me it will end up with you boosting frequencies, that aren’t the strong point of that sound. Forcing anything that exists in this universe will make that thing turn out wrong, well not always.
So keep in mind --- Natural Fundamentals.
Using a frequency analyzer will help you to see what the fundamental is for every sound, especially in the mid range. Usually I will use 3-4 sounds (can be anything) to occupy the mid range. (*) One with a fundamental @ 200hz, another with its fundamental @ 800hz, another @ 1.6Khz and maybe one with a lower volume @ 3Khz. This is with no EQ added – only natural fundamentals. It will keep the mid range more under control, more balanced and give some space for everything to breath.
Volume reference point:
Usually I will start out (when mixing) with the Kick-drum @ -6db (Low Frequencies) being the loudest in volume. With the Hihats, loops, cymbols, White noise Reverse sounds (High Frequencies) @ about -12-14db. The difference between the low and high frequencies should be about -6-8db. I find it better to balance the end points of the spectrum first and then level the leads (Mid Frequencies). With the mids, I check each fundamental and define a db location for that sound. It is best to build the track correctly from the start, like I explained at (*). The lower the fundamental is in the mid range, the louder the db level will be. The snare drum is a bit tricky, so I use my ear to fit it in, and then open up a space for it to occupy. So the mid sounds I level in between -6db and -12db.
Watch your master channel to prevent peaking. And when you maximize your track to 0db, make sure your RMS levels stays around -6db.
Just something I wanted to add, so yeah 
Cheers
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Babaluma
IsraTrance Junior Member
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729
Posted : Jan 23, 2014 12:50
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TranceAphobic
Started Topics :
7
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29
Posted : Jan 23, 2014 14:40
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why -6, when -12 sounds so much better?
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Are you talking about the RMS level or the kicks volume.
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Babaluma
IsraTrance Junior Member
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18
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729
Posted : Jan 23, 2014 18:14
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wirakocha
IsraTrance Full Member
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112
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Posted : Jan 24, 2014 01:26
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frisbeehead
IsraTrance Junior Member
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1352
Posted : Jan 24, 2014 06:17
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I think what Babaluma means is that RMS is not a precise value, since you can choose the "refresh rate" that the analyser will take as a guide to show the "average" levels. For example, if I was to check the RMS level with PAZ analyser and Ozone, I'd get different values probably, because default settings don't match.
Otherwise, a very interesting read and a nice way of thinking. Except, I feel that with so much measurement, unless you take those decisions fast and, perhaps even more important, you've made this to the point you don't have to think about it; this may turn things a bit to calculistic for my taste, like, of course the natural fundamentals make sense and - goes without saying - that's the only EQ you'll ever find on a live orchestra; but usualy, using different octaves seals the deal for most people, and then our ears are the judge to what goes well with what. I've never thought of doing a sound to hit precisely this or that fundamental frequency beforehand, unless I'm making a Kick that I want landing on a given frequency or something.
Anyway, I always end up setting a ceilling for each group of sounds, and the relative volumes between groups are somewhere near those values you mention. Good mixes also tend to form a similar picture if you make your analyser not refresh at all, by placing it's time to infinite or capturing a screeshot (ozone), very similar to the picture you've posted on the beginning of this thread (btw).
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TranceAphobic
Started Topics :
7
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29
Posted : Jan 24, 2014 10:02
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For example, if I was to check the RMS level with PAZ analyser and Ozone, I'd get different values probably, because default settings don't match.
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If this is true, then I apologize. Through out the years I collected my favorite plugins for its specific purposes. I only use Ozone to check my RMS, but if it differentiates on other analyzers- then the values are irrelevant. When I maximize my track to 0db, and it shows about 1db over, then RMS is about -6db.(When the track is at full level/busy) If I have say a RMS value of -12db, then volume levels would not be near 0db- but yeah ... irrelevant. I understand how all this can be a bit "calculistic", but the point never was to follow every step exactly.
The whole purpose was giving a different perspective. New view points to explore. Who is right or wrong is not the question here, because there is no question. It is a door I showed to those who would put some effort in what they enjoyed doing.
Everyone will find their own way to the end point, I just provided a clue...
I respect your opinion frisbeehead.
cheers
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